Thanks to my colleagues at the Smart Museum and iCI, and to Tony Fry, Peter Nicholson, Victor Margolin, and Dan S. Wang for sharing their responses to this text. I also thank Parkett editor Cay Sophie Rabinowitz for commissioning a piece for the winter 2005 issue of Parkett that provided me with an initial opportunity to explore these ideas in print.

1. See Bruce Mau, Massive Change (London: Phaidon Press, 2004).
2. Useful recent texts include Tony Fry, A New Design Philosophy: An Introduction to Defuturing (New South Wales University Press, 1999), Michael Braungart and William McDonough, Cradle to Cradle: Remaking the Way We Make Things (New York: North Point Press, 2002), and "The Death of Environmentalism: Global Warming Politics in a Post Environmental World," a 2004 paper by Michael Shellenberger and Ted Nordhaus that was commissioned by the Nathan Cummings Foundation and widely distributed over the Internet.
3. See Victor Margolin's essay in this volume, p. 21.
4. Tony Fry, email correspondence with the author, October 23, 2005.
5. Two popular conduits for ideas about sustainability, especially in relation to business, are Cradle to Cradle, (note 2) and Paul Hawkins, Armory Lovins, and L. Hunter Lovins, Natural Capitalism: Creating the Next Industrial Revolution (Boston: Back Bay Press, 2000).
6. Apart from the now ubiquitous Spiral Jetty, famous examples include Michael Heizer's massive sculptural excavation into a Nevada desert, Double Negative (1969), or Richard Long's performative work A Line Made by Walking (1967), in which he flattened a path through a grassy meadow and documented the results with a photograph. Some projects initiatied in the 1970s remain works-in-progress, such as James Turrell's Roden Crater; these iconic forms of land art remain the most well-known manifestations of environmental work, receiving continued attention in the scholarly and popular press. Key texts include John Beardsely, Earthworks and Beyond (New York: Abbeville Press, 1984), Suzaan Boettger, Earthworks: Art and the Landscape of the Sixties (Berkeley: University of California Press, 2002), Jeffrey Kastner and Brian Wallis, Land and Environmental Art (London: Phaidon Press, 1998), and Gilles Tiberghien, Land Art (New York: Princeton Architectural Press, 1995).
7. For the former, think of Robert Smithson's unrealized plans of the early 1970s to remediate mining sites as a sculptural project; for the latter, Joseph Beuys's public tree planting, the 7000 Oaks Project, first realized in Kassel in 1980, or Helen and Newton Harrison's gallery installations exploring watersheds.
8. Projects by Mel Chin, Mark Dion, Platform, Buster Simpson, Susan Leibovitz Steinmann, and Mierle Ukeles are just a few of the examples that could be mentioned here. The Cincinnati Arts Center's 2002 exhibition EcoVentions: Current Art to Transform Ecologies also explored this topic.
9. Critics such as Miwon Kwon and Claire Doherty have been useful in pushing the understanding of site-specificity; see Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity (Boston: MIT Press, 2004) and Claire Doherty, ed., From Studio to Situations: Contemporary Art and the Question of Context (London: Black Dog Press, 2004).
10. Dan S. Wang, "Practice in Critical Times: A Conversation with Gregory Sholette, Stephanie Smith, Temporary Services, and Jacqueline Terrassa," Art Journal 62, no. 2 (Summer 2003): 68-88.
11. Examples as varied as nineteenth-century painter Gustave Courbet, the early-twentiethcentury Russian revolutionary Constructivists, artists affiliated with the Popular Front between the first two world wars, and the 1980s work of HIV/AIDS activists Gran Fury are just a few that might be cited here.
12. Kester uses one of the artists' groups in Beyond Green, WochenKlausur, as a primary example. See Kester, Conversation Pieces: Community and Communication in Modern Art (Berkeley: University of California Press, 2004).
13. Nicolas Bourriaud, Relational Aesthetics (Paris: Press de Racel, 1998).
14. This is partly a function of technological changes: the Web allows autonomous artists and artists' groups to form networks and share information more quickly than in the past so that groups like Temporary Services in Chicago can maintain an ongoing dialogue with artists, writers, and activists in Vienna, Copenhagen, Paris, or Portland. That same technology helped fuel the international antiglobalization and antiwar movements, which have produced ideologies and visual strategies that have often overlapped with critical practice, as demonstrated by The Interventionists, an exhibition curated by Nato Thompson at MassMoca in 2004. Shows like Thompson's are indicative of our situation within one of those recurring moments at which the broader art world has directed attention to socially engaged and activist practice through a developing critical and art-historical examination as well as through major museum exhibitions.
15. Some of the influential artists working in this manner include Atelier van Lieshout, Jorge Pardo, Tobias Rehberger, Joe Scanlan, Superflex, and Andrea Zittel. Such crossover has been documented through exhibitions like the Generali Foundation's Designs for the Real World (2002), the Walker Art Center's Strangely Familiar: Design and Everyday Life (2003), which focused on design but shares similarities with many of the practices featured in Beyond Green, and several design shows that have featured artists in Beyond Green, including the Cooper Hewitt National Design Museum's Inside Design Now: National Design Triennial (2003) and the Museum of Modern Art's Safe: Design Takes on Risk (2005).
16. See Hal Foster, Design and Crime (and Other Diatribes) (New York: Verso, 2002): 13-26.
17. I have taken this phrase from a symposium at which I discussed related issues, "Dual Commitment: Recent Examples of Public Art in Austria and the United States," organized by the artists Wolfgang Scneider and Beatrix Zцbl and held in various sites in Linz, Salzburg, and Vienna, July 2005.
18. To extend this thought, there are many ways to generate more sustainable museums: for instance, how might we devise more energy-efficient climate control systems, or bring sustainable thinking into the often wasteful practices of exhibition design, or do more to share resources and strengthen networks with other institutions or with our neighbors? Some of these changes would require major shifts, but others might be implemented more easily.